The Ocean - Pelagial (2013)

I confess, German five piece The Ocean had always been a mystery to me. I'd heard their albums, seen videos of their detailed live performances. But for one reason or another, it had never truly clicked for me. It wasn't that I didn't "get it;" I saw the appeal, and why people had been singing their praises for years around me. But the music hadn't ever struck me in that profound way that it had everyone else. It hadn't. But time goes by, and things change. Sometime in 2010, a disc titled "Anthropocentric" found its way onto my desk. And suddenly, it all made sense. Their crushing distortion, burgeoning melodies and incredibly detailed production work hit me like a Buick, leaving dents in my skull, and a craving for more. Their back catalog became part of my rotation, their discs part of my collection. And just like that, I was initiated into those who knew. The stories were rich, as they are on "Pelagial," and the music echoed that. With this new album, you go deeper; literally following the band deeper into the waters. Each level has a new sound, and  a new tone. Until you reach the black.

The bubbling waters and serene piano keys that welcome you to "Epipelagic" are enchanting, to say the least. You would be well within your rights to expect Jacques Cousteau to emerge for his trademark narration. And yet, somehow, you won't be disappointed when it never happens. The smallest of ideas laid out there begin to bubble forth on "Mesopelagic: Into the Uncanny," with the first spacial melodies coming through the use of guitars and strings. The heart of the track is a finely crafted piece of melodic post metal, driven by guitar but rooted in an expansive set of percussion. It isn't until the vocals enter, however, that you witness the full scope of things to come. Vocalist Loic Rossetti lays down his trembling melodic inflections, each note carrying over the top of it all, sometimes growing into a thunderous roar. It is the way the band handles the transitions from melodic and solemn into full on thrashing that are the most intriguing, and also the most imperative. Even the seamless flow from the previous track into "Bathyalpelagic I: Impasses" boasts of intense forethought. As you move from loud to sweeping segments and back again, it is like a calculated attack on your sense of hearing, keeping you constantly off balance but oddly comfortable. Even as the full on screams of "Bathyalpelagic II: The Wish in Dreams" come through, there is still more than meets the ear. The instrumental beneath says as much as the lyrics do, with massive drum rolls locking together with a set of crushing guitar riffs. The bass work, as smooth as any I've heard, becomes the glue to holds it all together.

There are distinct mood changes throughout the album, easily dissected and studied. Even the short bursts on "Bathyalpelagic III: Disequillibrated" further that thought, changing both the tone and tempo with a barrage of blast beats and high speed riffing. This is a band at their heavy best, without losing sight of songwriting dynamics. The portion that runs from breakdown to outro speaks volumes, ending in a flurry of effects. As the next movement begins, the broad, sweeping melodies return once again with a vengeance, bending and swaying on command. "Abyssopelagic I: Boundless Vasts" might have the most fitting of the track titles, with the instrumental throwing off the shackles of boundaries and space. In the growing expanse, drummer Luc Hesstakes a step back to a more restrained place, allowing for the subtleties to poke through, including a dazzling set of strings. When all fades, the sadly romantic outro takes hold of you fading away only to rise again in "Abyssopelagic II: Signals of Anxiety." The use of sound effects amongst the quiet, ambient passage does wonders for the mood again. Things build from a place of emptiness back into a melodic one, constructed and perfected as delicately as anything else on the album. The gritty vocal track provides the perfect contrast to the strings and keys that appear. And while it stands as only a minute, " Hadopelagic I: Omen of the Deep" delivers the punch of a ten minute epic, leading the way into the final trio of songs. The ominous guitar work sets a tone that must be expanded.

Things step back, however, as "Hadopelagic II: Let Them Believe" takes a far more reserved stance in the opening phases. But this is an evolution unfolding before your eyes, growing, living and breathing along with you. Dense, distorted guitar chords form the backbone for the soundscape, allowed to bend and change with the help of a rhythm section that does more than keep time and provide structure. Hess, alongside bassist Louis Jucker do far more than the mix lets on, with their work sometimes obscured by the overflowing elements. But what you get in the even parts is a brand of post metal that transcends the genre into something all its own. The much darker "Demersal: Cognitive Dissonance" could be described as the evil twin of "Let Them Believe," finding itself rooted in a much more shadow covered place. The vocals illustrate the difference, relying on a scream that carries for miles, rather than the softer crooning you've heard before. With both tracks topping the nine minute mark, they both fill the role as album epic, but with two very different end points. The former, a melodic affair while the latter, a sludge covered bruiser. What makes the entire album so profound is the structure within each track, as well as between each track. The slow, plodding finish, the nearly six minute "Benthic: The Origin of Our Wishes," becomes all the more enjoyable when you've conquered the first ten parts of the journey. This isn't so much a summary as it is a punctuation. You've reached the deepest depths of the ocean, and it can be felt in each crushing note.

A concept album only works if your ideal is clear, and your listener can see it presented in each song. The Ocean seem to have mastered the art of the concept album through their career, and the eleven songs pressed here are all the evidence you'd need. There is little, or no, doubt about where the journey began, where it took you, and where it left you; in fact, it would be easy to say that the songs themselves were more emphatic than the idea itself. But more than that, more than the crafting of the story and subsequent ending, the band has given you something to experience along the way. You don't just look at each one of the tracks as a piece of music, but more as a stop on your path from start to finish. You begin to identify then with the depths you've reached, and the sudden pressure you feel coming down on you. And that is, surely, no accident. Warm and cold, light and dark, loud and quiet; those are not just happy coincidences scattered through an hour of music. They were planned, constructed, torn down, rebuilt, sculpted and perfected. And that is what makes "Pelagial" even more appealing.

9/10

Official Site - http://www.theoceancollective.com
Facebook - http://www.facebook.com/theoceancollective/

Read more ...

The Podcast: Episode 81 (Now things are getting interesting)

You can't listen to the same old thing all day, every day. You need a change of pace now and then. So this week, we were treated a slew of new and exciting artists and styles; ones that may change the way we listen to music. The week began with a powerhouse album from Vancouver's own Anciients, which was offset by the Jeckyll and Hyde confusion of Dementia Senex. Brian was delighted by the debut album from Ade, enough to level a threat against the non-believers. And things ended on a high note, with Russian born guitarist Julia Kosterova giving a new depth to the solo guitarist album, and Thy Raventhrone showing off keyboards aplenty. New, exciting, sometimes unpolished. But always interesting.

Read more ...

Thy Raventhrone - End (2013)

It's not hard to see why people would like the music of Thy Raventhrone. There is a mystery about the music, a magical quality that would surely leave many, like myself, scratching their heads. The brainchild of Jani Kalin, this one man project from Finland isn't doing what everyone else is doing; and I doubt he would ever care to. Instead, Kalin is crafting his own version of atmospheric metal, heavy on the keyboard influence, and based around a center theme.  What makes this current incarnation all the more intriguing is where it began; not geographically, but musically. His initial works in 2005, which Kalin describes as " purely Folk/Power" metal, as miles away in the rear view mirror. With this new style, he strays away from the beaten path and goes off in a direction few have walked before. His success may still be up in the air and miles further down the road, but with the new album, "End" he is well on his way to something great, even if he isn't there yet.

With the sweeping melodies that open "Desolation," you get a small taste of what could be, and perhaps what is. Joined by a quivering set of guitar strings being plucked, you have something interesting building around you. While it takes over two minutes for the track to get into its full form, the atmospheric quality of that time is not wasted. As the lightning quick snares and kicks come into view, there may be a burning desire for a change of scope. But what you hear is, in fact, what you get. There is a dream-like airiness to the backing synths and guitars, one that does bolster the main riffs. The trade off between those hazy melodies and the slamming drum work is a good one, though it doesn't seem to create any sort of advancement in the track. There is a common theme running through "Silence (Desolation Part II)," as you would expect, but the change from basic synths to the more church inspired organ sound makes all the difference. What results is a much fuller mix, one that finds a true balance rather than just a back and forth dynamic. It feels more complete, and allows for more lateral movement. But even with the added melodies and guitar work, the track length is taxing, clocking in at nearly nine minutes, while still relying on the same repeating riffs and drums. Kalin is at his best around the seven minute mark, finding a perfect harmony.

The two tracks that form the "Rapture" arc are similar to their predecessors in that they share a commonality between them, while still giving off a distinct sound. The first part stands as perhaps the most complete work on the album, despite some interesting mixing choices. rather than keep a steady hand on the levels, the synthesizers dominate around the midway point, and are quickly buried beneath a wave of distortion and drum patterns. A jovial piece of organ work in the latter stages will surely become a focal point, but the way he transitions in and out of that passage is key. Part two takes the same theme and changes the timeline noticeably, adding what sounds like a space rock edge to the mix. They are two varying takes on the same story, both centering around the machine gun drumming segments and a lone guitar melody. While they are dressed up differently, they remain very similar. But again, Kalin works a bit of magic, replacing that jaunty melody of early with a more haunting organ. "Netherdream," the shortest and not coincidentally most memorable track on the album, is a demonstration of how to make this style work. It remains ambient and flowing, without the repeating functionality. Instead, there is a structure in place that allows the track to rise and fall, while changing along the way. It feels far more organic than the rest, as if the track truly wrote itself.

There is something otherworldly about what Jani Kalin is doing with this project; something that will draw us back time and time again to see what he'll do next. But for now, with an EP and this album as the markers, there are questions left unanswered. While it could be said that there is nothing inherently wrong with the tracks as they were written and recorded, it seems as though the length is their greatest enemy, relying too much on reused pieces to pad out tremendous run times. If the first four tracks were shorter, would it negatively effect the finished product? That distinction, of course, is up to each individual listener to determine. From a musical standpoint, Kalin does create some magnificent soundscapes, thanks to his varying use of keyboards. But only time will tell if that will be enough to pad out another full length album, or if he will have to shorter the leash, and go for a more succinct output. At any rate, "End" is certainly not what the name indicates. There has to be more.

7/10

Official Site - http://www.mikseri.net/artists/?id=136075
Facebook - https://www.facebook.com/thyraventhrone

Read more ...

Julia Kosterova - Springs Of Time (EP) (2013)

The entire concept of a solo album from a shredding guitarist was once an exercise in the the skills of a braggart. The songs would like structure, or they would abandon it all together. But over the last few years, this became a feasible strategy again, one that came to our attention thanks to the work of Project Masquerade mainman Nood Smeets and former Nevermore guitarist Jeff Loomis. They took the lead in their respective bands, without dominating the mix. Both released albums that were guitar driven, but not guitar-centric. For Julia Kosterova, the Russian born guitar wizard who blew the lid off the NAMM main stage earlier this year, there is never a conflict of style over substance; she embodies both. Hertalents have earned her features in Guitar World, and afforded her the chance to have a veritable all-star line-up on her debut EP. With music legends like Brian Tichy, Marco Minneman, and former Dream Theater keyboardist Derek Sherinian in tow, Kosterova works her fingers in ways that boggle the mind, all while keeping "Springs Of Time" as well rounded as you've heard.

The opening, which is also the title track, is an immediate assault on your ears. What becomes immediately evident is not only how precisely Kosterova plays, but her songwriting talent matches her deft hands. There is a flow to the track, one that would be lost with mindless shredding. Thanks to the work of Minneman and Sherinian, her riffs are taken to levels far beyond the norm. With every fluttering passage, she tugs in your innermost air guitar junkie, begging you to fret along with her. This isn't an accident or dumb luck; it stands as a testament to her talents. If more convincing is needed, "The Wave Of Luck" is sure to put any doubts to bed. Her groove is undeniable, but there is something more important to note. This may be a "solo" EP bearing her name, but Kosterova makes her mark while still showing her band mentality. Every riff has a place, and every back beat and bass line shine right alongside it. The cohesiveness is the biggest selling point here, and it adds greatly to the air of triumph on "Stranger." Aside from being the shortest track on the EP, it might also be the most catchy. With Tichy taking over behind the kit, there is also a change in drum patterns, a signature sound that matches perfectly with the tone of the track. Needless to say "Hi Power" is exactly that: an adrenaline fueled ride from start to finish. Each bending string or screeching harmonic puts another signature stamp on the album. As she and Sherinian trade off in a duel, it only secures her spot as a rising star.

Much like Smeets and Loomis, Kosterova takes great care in making her solo work more rich and dense than the guitar shredding albums of years gone by. By operating in that group mentality, she only strengthens her cause. And in doing so, she tears down the walls of a genre that is still widely considered to be a "boys club." There is no room for sexist jargon here; it would be an insult for anyone to say that she plays well and follow it up with that old faithful putdown "for a girl." It is just too easy for narrow minded people across the world to dismiss her as another pretty face. She works wonders on that fretboard, and does it with the grace and style of some of the greatest guitarists I have witnessed in a live setting. But the substance is all that matters, especially when you have an album to sell. And the inner workings on "Springs Of Time" are as impressive as her skill set. If she were to join forces with this group of musicians for a full length effort or a tour, we could be in trouble. Not sure the world would be able to handle it.

9/10

Official Site - http://www.juliakosterova.com/
Facebook - http://www.facebook.com/juliakosterovacom

Read more ...

Ade - Spartacus (2013)

Last year Ex Deo released “Caligvla”, which was an incredible foray into melodic, Roman-themed metal. It was an improvement over their first album in every way. This year another Roman-themed endeavor emerges. This band is ADE. Unlike Ex Deo however, ADE is actually from Rome and are much heavier. What sets them apart even more is their use of classic Roman instruments to create a sound and a vibe that is unmatched. Their second album “Spartacus” improves everything from their first one and then some. Sporting tight production, headbanging riffs and an amazing use of a lyra, this is one album that should not be missed.

When the album kicks off with “Betrayer From Thrace,” it’s evident that this isn’t just another run-of-the-mill death metal album. It’s an album that wants to take over the genre. No band out there blends modern metal with a classic Roman sound like ADE does. “Sanguine Pluit in Arena” starts off calm then just explodes into death metal played with skill and precision. The guest drumming of George Kollias adds an intensity that few drummers can imitate. “The Endless Runaway” and “Crixius Flags of Dishonor” continue the album along at a fantastic pace. The album really starts to pick up with “Duelling the Shadow of Spartacus." It might just be the best song on the album. It starts off with one hell of a riff that will automatically make anybody bang their head to. The whole song is unrelenting, razor sharp and is played with precision that other bands wished they had. “Mars Unpredictable Favor” is probably their most epic sounding song on the album. “Decimate the Coward,” “Six Thousand Crosses,” and “Divinitus Victor” all keep the flow of the album going, but are completely overshadowed by the closing track, “For Everything to Be the Same…” They aren’t bad tracks at all but, but compared to the experimental genius of the final track, they pale in comparison. “For Everything to Be the Same…” has everything a closing song on an album like this should have. It slows down a bit for the beginning riff, but picks speed starting halfway through, proving ADE is here to stay and they will take no prisoners.

Saying that I’m impressed with ADE’s new opus would be an understatement. Comparing it to Ex Deo’s “Caligvla” would be criminal because they really aren’t the same genre. Ex Deo is much slower and more melodic. While ADE sounds like Felshgod Apocalypse’s evil cousin that took cultural history lessons in Rome. There is not one bad track on this album, and not one song kills the flow. This album is damn near perfect. Anyone who is a fan of death metal needs to listen to this pronto. And if anyone refuses, I’ll send Spartacus’ shadow after you.

9.5/10

- Brian DuBois

Facebook - http://www.facebook.com/adelegions
Merch - http://adelegions.bigcartel.com/

Read more ...

Dementia Senex - Heartworm (EP) (2013)

It all takes time. From inception to success, the growth process of a metal band can take years, if not an entire career. Formed in 2008, Cesena, Italy based Dementia Senex are in the very early stages of that life cycle. This five piece has all of the characteristics of a band in the prime, but without the layer of polish and shine that comes with experience. This isn't to say that they don't have any; they have, in their short time together, shared the stage with international acts Fleshgod Apocalypse and Fuck The Facts. yet five years later, they are still relegated to the Italian underground, waiting for their chance to poke their heads above water for some much needed exposure. As difficult as that can be, there is no better time than the present to make your first stab at the limelight. With their new EP, "Heartworm," they make a valiant attempt to put their stamp on the scene, but they still suffer from some of the inconsistencies that a band in it's teenage years are bound to have.  

A gruelingly slow pacing begins the first track, "Unscented Walls." The thunderous thud of the kick drums is notable, but it is the way the track changes and evolves over the course of nine minutes that is the real thing to watch. Mixed into this framework are periods of old school death metal, doom, and blackened thrash, without ever really defining themselves by any of the three. The lone constant is the vocals, with their low end growls commanding every ounce of attention they deserve. They are joined at every turn by a battery of percussion, sometimes overwhelming in intensity. But the production work, which is clean and balanced, allows for an occasional guitar melody to jump through, albeit sparingly. With so many tempo and tone changes, some are bound to stand out from others, with the second half of the track feeling more focused. By contrast, the much shorter "Kairos" may be much more one dimensional in scope, but it succeeds in its simplicity. Relentlessly heavy and diabolically crafted, it is a three minute punch in the gut. It is the closing track that remains the biggest head scratcher, though. The title track, "Heartworm," is a Dr Jekyll and Mr. Hyde experiment. A clean opening descends into a chaotic first verse. It would seem that rhyme and/or reason have been thrown to the wind here, with little in the way of cohesion. But the second half is another story altogether, displaying some of the most intricate and well delivered guitar work. It becomes indicative of the growth process, for better or worse.

Let's face it, it is a lot easier to hate something and dismiss it than it is to sit back, take it in, and learn to like it. For Dementia Senex, the first impression won't be their best. It may take time, patience, and a willingness to listen again before you find yourself enjoying the three tracks they've provided. By no means is this an indictment of what they've done; there is little wrong with the music itself, aside from some of the structural and identity glitches. For a band that is only five years into their existence, it would be ridiculous to expect that they would have themselves and their style completely figured out. That simply takes time. But what needs to happen, should this be a project that hopes to go beyond the underground scene and into the mainstream (or whatever passes for mainstream in the death metal realm), is a focus on narrowing down the menu, and nailing down the structural integrity within each song. And much like the name implies, "Heartworm" may take time to grow before it infects us as intended.

6/10

Facebook - http://www.facebook.com/dementiasenex
Bandcamp - http://thepathlesstraveledrecords.bandcamp.com/album/heartworm

Read more ...

Anciients - Heart Of Oak (2013)

With so many major labels, independent labels, imprints labels, and web labels, it is damn near impossible to keep track of all of the signings, releases, and movement in the modern age. But there are always a few that you watch more closely than others, hoping to find something you may have missed. And while the "major" metal labels, like Nuclear Blast, Metal Blade, and Century Media have done wonders for our catalogs and collections, it is Season of Mist that have provided some of the biggest surprises. When they announced the signing of Vancouver based quartet Anciients in late 2012, it warranted further investigation. Described as "forging together smoldering apocalyptic riffs, classic hard rock influences and unforgettable vocal melodies," it was no wonder why they had been given the opportunity to share the stage with major acts from Pig Destroyer to 3 Inches Of Blood. With the release of their debut album, "Heart Of Oak," we finally get to hear what caught the ear of a label based thousands of miles away.

With a somewhat airy opening, there is an immediate contrast of styles on "Raise The Sun;" The clean riffs and echoing bass strings set the mood, backed soon thereafter by an explosive set of drums and winding distorted guitars. As the first shot fired, it becomes the framework for the album to come, embodying a multitude of styles and sonic textures that return time and again. Most notably, the ever shifting vocals become a focal point throughout. For every clean passage, there is one of grit and darker substance. You find yourself immediately drawn in, and thanks to followups like "Overthrone," constantly immersed in the music itself. While classifying a musical endeavor as "daring" may seem out of bounds, it works here, with the band bucking the structural confines of modern metal and meandering through guitar passages at will. There are clear influences on display here, but none that cloud the unique vision of the track. Musicianship is key, with the dynamic vocal shifts forming the icing on the proverbial cake. It is "Falling In Line," however, that provides the first glimpse of pure progressive elements, both in form and function. With each wailing guitar riff and flowing bass line, you find more to dissect and repeat. Clocking in at a massive eight minutes, you would be hard pressed to find a single second wasted or contrived. A combination of surgically precise solo work and staggeringly powerful rhythm work, the track is a testament to the writing process.

But "The Longest River" is exactly that; at over nine minutes, this is the epic the album deserves, and the one it needs right now. Everything falls into place so precisely, so delicately, that it stands to wonder how they managed to fit so much into such a tight space. One part prog rock, one part stoner metal, and two parts heavy handed sonic assault, you are treated to something completely bombastic and wholly unique. With each crashing cymbal and booming kick drum, you get one more reason to let your head move to the beat; each flowing melody coaxes a nod of approval. Even more impressive, though, is the pairing of such a massive undertaking with a beautifully crafted acoustic interlude, like the minute long "One Foot In The Light." Classical in construction and folksy in delivery, it is a track that, while short, will certainly garner some interest. And bookending the experience, the booming "Giants" allows the thundering low end to shine brightly through the mix. It is here that the band finds a breathtaking balance in sound and fury, one that is elevated by a mixing and mastering job for the ages. The way the layers are put together works well, letting them all stand side by side rather than on top of one another, and results in something far bigger than you would otherwise get.

It is hard to call the opening to "Faith and Oath" a work of beauty, but in the scale of the greater album, it is exactly that. What you have, seven songs into this disc is the evolution of sound yet again. In those first fleeting seconds, you have pure black metal riffs, high speed and high reward. This is the same band, but doing something outside of the proverbial box the first few songs may have built around them. You get a taste of death metal vocals, with dense growls partnered with darting guitar work. For as much intensity as is engrained into the music, there is always a touch of class and style oozing through. Whether it is the bluesy solo that ends this track, or the swaying bass line that inhabits "Flood And Fire," there is always more at play than the norm. This last trio of songs shows a dynamic musicianship element, with more solo work, more melodic infusion, and more of the "how did they pull this off" kind of talent. It remains a viable question, wondering how they balanced this many moving parts without a trip or stumble. And when the sound of a pained scream gives way to the horn of a train, you can be sure you have wandered into unfamiliar territory. if this were to fall anywhere else on the album, "For Lisa" would be a headscratcher. but as a finale, it stands alone. It defies description, and deserves to be heard a thousand times over.

While running the risk of packing too many cliches into one closing paragraph, sometimes it is safer to be who you are, rather than trying to be something you aren't. Luckily, the four beings that make up Anciients are exactly what their music paints them to be: eclectic, creative, and talented. Somewhere between the first and last notes of the album, they take you on a wild ride down the musical rabbit hole. They aren't falling, mind you; this is a clearly orchestrated and organized effort to go far and wide in the metal spectrum, touching on so many different styles and sounds without ever sounding forced or crass. How they manage to make all of this work is anybodies guess. On paper, this mix of contrasting styles may seem like a trainwreck waiting to happen. But in reality, it is a marvel of modern ingenuity and design. At the end of the day, it is what it is, you are what you are, and the truth of the matter is you gotta kill 'em and let God sort 'em out. But all bullshit aside, "Heart of Oak" is a win, through and through.

9.5/10

Official Site - http://www.anciients.com/
Bandcamp - http://anciientriffs.bandcamp.com/
Facebook - http://www.facebook.com/ANCIIENTS

Read more ...